LOUISIANA TECH
UNIVERSITY
STONE THEATRE
PRODUCTION PROCEDURE
MANUAL
I. STONE THEATRE
PRODUCTION CONCEPT
A. The Company Concept
B. The Production Team
Concept
II. DUTIES OF THE
PRODUCTION COMPANY
A. Auditions and Casting
Procedures
B. First Company Meeting
C. Production Meetings
D. Budget
E. Post Production
Responsibilities
III. DUTIES OF ALL
MEMBERS OF THE PRODUCTION COMPANY
A. Director
B. Actors
C. Assistant Director
D. Stage Manager
E. Stage and Building Crew
Head
F. Light Crew Head
G. Sound/Music Effects Crew
Head
H. Costume Crew Head
I. Property Crew Head
J. Publicity Manager
K. House Manager
L. Box Office Manager
N. Designer
STONE THEATRE
PROCEDURE MANUAL
I. STONE THEATRE
PRODUCTION COMPANY
A. THE COMPANY CONCEPT
The company is composed of
everyone working on a given show. All participants will remain with the company
until strike is completed. The selection of production staff is
based upon the number of
persons needed for the crews, the apparent ability of the students selected,
and the variety of experiences they have had in production. The selection of
the cast is based upon the particular acting demands made by a given script,
the acting ability revealed in auditions, the needs of the individual student
in terms of growth, present level of attainment, and performances as a responsible
member of previous companies. All company assignments are tentative and any
member may be reassigned or dismissed for cause at any time by the Director or
the appropriate faculty supervisor.
B. THE PRODUCTION TEAM
CONCEPT
In the Stone Theatre, there
are no more important members of the company than those students selected by
the faculty to serve as assistant directors, assistant
designers, stage managers,
and crew heads. They represent their faculty supervisors and will receive their
complete support. All positions on the production team traditionally demand the
respect of all other members of the company. Theatre students will be expected
to honor this tradition and to cooperate wholeheartedly with students who have
been selected to fill these positions.
II. DUTIES OF THE
PRODUCTION COMPANY
The following provides a
description of the duties of the Director, Actor, Assistant Director,
Stage Manager, Technical Crew Heads, Publicity Manager,
House
Manager and Box
Office Manager. Each of these members of the production company have
major responsibilities to the production. Actors should pay close
attention to the privileges
and responsibilities described. Crew members should make themselves familiar
with the duties of their Crew Heads in order to better cooperate in completing
their assignment. These descriptions are by no means complete--they are as
specific as they can be, but they are certainly not all encompassing. Job
functions may vary slightly depending on the needs of the production. The ultimate
goal of each member of the Production Company is to contribute toward the best
possible production.
A. Audition and Casting
Procedures
All majors with an emphasis
in Acting/Directing are REQUIRED to audition for ALL major productions. One may
be excused from being in the production, but must go
through the audition
process to gain experience and confidence in auditioning. Any absence must be
approved by the Director of Theatre in advance.
Stone Theatre auditions are
open to any and all people.
Audition procedures may
vary. In every instance, the procedure will be announced at the time auditions
are to begin. BE ON TIME. Wandering in to read late requires
unnecessary repetition.
When feasible, and when the
director so desires, scripts are made available for reading in advance of the
audition period and may be checked out. As a general rule students should
familiarize themselves with the script and attend as many audition sessions as
possible unless instructed otherwise by the director.
Audition notices,
call-backs, times for individual readings, final casting, etc., will be posted
by the director on the call-board.
B. First Company Meeting
Faculty supervisors,
student assistants, all company members, and other interested students meet as
a body prior to the first called rehearsal. Attendance is mandatory.
The following procedure
will usually be followed:
1. All persons involved in the production
are required to sign the sign in sheet.
2. Introduction of personnel.
3. Hand out the Company Rules, Bio. Sheets,
Production Contact Sheets, Rehearsal Schedules and Medical Forms.
4. Discussion of the directorial, scenic
and costuming concept of the play. Also, general discussion of the work
assignments.
5. If the Faculty supervisors are present,
a meeting will be scheduled with appropriate crew heads, crews, and cast
separately as desired.
Provisions governing
detailed duties of all members of the production company are found elsewhere in
the handbook.
C. Production Meetings
Production Meetings are
scheduled once a week at a designated time. Other meetings are scheduled if
deemed necessary by the Director, Designer or Production Manager. Production
department heads are required to attend.
D. Budget
The Coordinator of Theatre
will create a budget for each production. The Coordinator will give that budget
to the Production Manager who will be held accountable for the
assigned budget. Each
department head will be given their budget at the beginning of the production
process by the Production Manager. Each department head will hand in a weekly
accounting report to the Production Manager. Each department head is solely
responsible for maintaining their budget.
E. Post Production
Responsibilities
Each department will have
its own post production responsibilities. These responsibilities will change
from production to production. All technical department head are responsible
for scheduling an appointment with the Production Manager to discuss what their
responsibilities are for each
production. All front of house department heads must schedule an appointment
with the Coordinator of Theatre to discuss what their responsibilities are for
each production.
III. DUTIES OF ALL MEMBERS OF THE PRODUCTION
COMPANY
A. DIRECTORS
The Coordinator of Theatre
is the person who is ultimately responsible for all aspects of the production of the play.
However, it is the director responsibility to see that the following is or has
been dealt with: ordering scripts, obtaining royalties, scheduled auditions,
casting, rehearsals, approve all technical and costume designs, schedules, all
publicity and program information being handed in on time and anything else
which may be an element of production. It is not the director responsibility to
do all of the above mentioned, but
rather to see that it is being done.
1. The director will set up a rehearsal
schedule with specific start times, with the exception of Tech/Dress
rehearsals.
2. The director must have a plan of
production and set goals each day and each week to insure proper progress on
the production--again, with respect to all aspects of production; technical,
costumes, publicity, promotion, administrative, acting, etc.
3. The director must discuss the break
policy for rehearsals with the stage manager. The stage manager will be responsible
for the implementation of the policy.
4. The director must attend production
meetings.
5. Before rehearsals or work can begin on
a project:
a. Rights/Royalties
must be secured
b. Scripts must be
obtained.
c. Rehearsal and
performance space must be secured.
6. The following publicity schedule need
to be followed by the director:
a. Two weeks prior to
the opening the company will assist in the poster distribution.
b. Two weeks prior to
opening: Program copy is due.
c. During the run:
Production photos call needs be scheduled.
B. ACTORS
In this Theatre, the actor
is first of all a member of a company. However, since the actor is the
principal instrument through which the director speaks and interprets the
playwright's ideas, and because the actor represents to the public the combined
activity of all backstage members of the company, every actor bears especially
significant responsibilities and obligations in representing the Stone Theatre
in a positive and professional manner.
Acceptance of a role
indicates commitment to the process. All roles are important, no matter how
large or small.
Consideration for other
members of the company and genuine humility are characteristics which the actor
should possess. Recognize that actors cannot appear effectively upon the stage
without the active cooperation of the backstage members of the company.
Therefore, treat the assistant director, the stage manager and all crew heads
with the courtesy and respect due them. More to the point treat them as you
would like for them to treat you.
The actor always recognizes
the importance of the director whether the director is a student or a member of
the staff. Make every effort to cooperate fully with the director
to foster a better
production.
There are many ways in which
the characteristics of a good actor manifest themselves. For example:
1. Being on time or early for all
rehearsals and calls.
2. Memorize lines at the earliest possible
date conforming to the directorÕs wish.
3. Never miss an entrance cue.
4. Do not leave the rehearsal hall without
permission of the director or stage manager.
5. Do not cross in front of the director
or the stage, nor approach the director in the middle of blocking or directing
without checking with the stage manager first while the rehearsal is in
progress.
6. Never talk nor disturb in any way a
member of the company who is about to make an entrance.
7. Treat costumes and properties with
respect and return them to their proper place.
8. Confine the performance to the stage
only.
9. Never allow the audience to see you in
costume or make-up prior to the performance.
10. Obey immediately the
instructions of the assistant director and the stage manager.
11. Help the new members of
the company become familiar with the traditions and customs of our theatre.
In addition to a sincerely
cooperative attitude, a good actor brings to rehearsal the well-sharpened tools
of the craft, which are a trained voice and body and creative imagination.
The ActorÕs costume, props,
set and scenery are a vital part of performances, since they determine the
major portion of appearance. A costume is designed as part of the actor's
performance, not as an arbitrary thing, and the good actor seeks to understand
the costume's relationship to the performance and ways in which it can be
integrated into acting. Actors should note special features such as trains,
capes, and corsets, which will require special attention to utilize most
effectively.
1. Each actor should wear rehearsal
clothing similar to what they will wear in performance. Shoes and tights are
especially important. If actors encounter a special problem, they should
arrange a special time with the costumer to borrow rehearsal clothing or to
practice in their costumes.
2. Onstage, costumes are to be treated as
the character would treat them. Offstage, however, they are handled with
special care. Long skirts and trains are lifted off the floor immediately upon
exiting and are carried in a way which will not wrinkle them. Skirts and capes
are lifted before sitting. Careful treatment of the costume is the hallmark of
a good actor. Costumes are not dress up. They are important tools to an actor.
3. Costume fittings: It is essential for
the actors to be measured at the time designated by the costumer. Old measurements
cannot be used and failure to keep measurement or fitting appointments
jeopardizes the planned work schedule. The actor should use the fitting as a
time to learn how the costume relates to the performance, and to discuss with
the Costumer any specific needs or desires regarding the costume. A fitting
demands the concentration of a rehearsal and is no time for frivolity.
4. Dress Rehearsals and Performances: a
good actor assures the costume is complete and properly worn.
a. Items worn as
costumes never leave the theatre during the dress rehearsal and performance
period, except when taken for cleaning or repairs by the crew. The actor never
takes any part of the costume home, even if it is personal property.
b. No smoking, eating,
or drinking while in costume, unless it is covered completely. No smoking in
the Costume Shop, Green Room, or Dressing Rooms.
c. Confirm with
costume crew head that all pieces of a costume are accounted for when checking
a costume out of the Costume Shop--10 minutes before curtain time is not a good
time to find out that a costume piece is missing.
d. The actor will
replace the costume on hangers properly. All costumes should be hung together
and checked off by the appropriate person in the costume shop.
e. If costume items
need to be repaired or laundered, the actor should list them on the work sheet
posted for this purpose during or following the rehearsal or performance.
f. At Strike: All
actors are fully responsible for participating in strike. They shall work on
the strike crew that the TD assigns. No one is finished until strike is
complete.
C. ASSISTANT DIRECTOR
Planning Period
During the planning period
the Assistant Director will meet with Director and review what the Director
wants, needs and expects from an assistant. Each Director has their own
specific way of working with their assistant.
One of the most important
responsibilities is to become thoroughly acquainted with the play.
Audition Period
During the audition period
there are many ways that an Assistant Director can assistant the Director.
1. Prepare room for audition.
2. Pass out audition forms to all
attending audition as they arrive.
3. Assist at audition in the manner
desired by the director.
4. Take notes on casting.
Rehearsal Period
During the work
period/rehearsal there are many ways that an Assistant Director can assistant
the Director.
1. Make out a weekly rehearsal schedule
with the director.
2. Take notes for the actors as dictated
by the director during rehearsals.
3. In collaboration with the director and
technical director set time and date when crew heads and crews should appear at
rehearsal.
4. Crew heads must always coordinate with
the stage manager, unless otherwise assigned by Production Manager.
5. Check with the director before and
following each rehearsal for any change in plans.
6. See that the rehearsal room is in order
after rehearsal. Replace furniture and turn off lights.
6. Be prepared to read each role at any
time during rehearsals.
7. Production pictures: consult with the
director concerning the number of pictures desired and to determine which
scenes will be taken.
8. In consultation with the costumer and
costume crew head, plan, announce to cast, and manage dress parade.
9. Work in concert with the Stage Manager.
D. STAGE MANAGER
Planning Period
1. Assist the Director with creating the
rehearsal schedule with specific start and stop times, with the exception of
Tech/Dress rehearsals.
2. Get to know your theatre.
3. Be aware of police, fire, and municipal
regulations.
4. Make a diagram of the stage.
5. Keep a Òto doÓ list
6. Make a prompt script.
7. Identify the problems of the script.
8. Write out plots
9. Make a master calendar
10. Schedule staff
meetings.
11. Create audition forms.
12. Check with the Coordinator
of TheatreÕs office to see that:
a. Rights/Royalties
are secured
b. Scripts are
obtained.
c. Rehearsal and
performance space must be secured.
Audition Period
1. Prepare room for audition.
2. Pass out audition forms to all
attending audition as they arrive.
3. Assist at the audition in the manner
desired by the Director.
4. Gather equipment. [stereo or piano]
5. Post notes for auditions.
6. Control the handing out of scripts.
Work period/Rehearsal
1. Arrive thirty minutes before rehearsal
is to start. Set stage for rehearsal ten minutes before rehearsal begins.
2. Get things to run smoothly on stage and
backstage.
3. Gather equipment.
4. Brief cast and crew on safety.
5. Identify the problems, additions,
deletions or changes of the script.
6. Arrange the call board with sign in
sheet and emergency phone numbers.
7. Distribute and explain company rules.
8. Keep a budget and a record of your
expenses.
9. Write into script all directions,
changes in direction, movement, business, points of interpretation, line
changes, cues for sound, light, curtain, etc.
10. Prompt the actors. . .
in the latter period of rehearsal. Prompt in tune with the scene and
character's speech.
11. Take notes on matters
dealing with the technical aspects of the production. After rehearsal, check
with the director on the notes to the technician.
12. Enforce the "No
Smoking" rule on and backstage.
13. Sweep stage before each
rehearsal.
14. Make preset diagrams.
15. Post running order.
16. Work with all
department heads.
17. Keep cast on time.
18. Distribute scene shift
diagrams.
19. Call rehearsal calls.
20. Observe all publicity,
box office, costume schedules.
21. Keep rehearsal reports.
22. Distribute rehearsal
reports to heads of departments.
23. Post photo calls.
24. Make a scene shift
plot.
25. Get paper work from
lights, sound, costume, props and set before technical rehearsal.
26. Choreograph scene
changes.
Technical rehearsal
period
1. If possible, mark positions of set
properties on the stage floor with the assistance of property crew head.
2. In collaboration with the faculty
supervisors, stage crew head, and property crew head, work out routines of
shift.
3. Assign stage crew members to clean the
stage during the afternoon crew period preceding each technical or dress
rehearsal, and each performance.
4. After consultation with the director
and technical director, make a safety first talk to the entire company warning
them of possible dangers which might be encountered during dress rehearsals and
the run. Be sure each member of the company knows the locations of all fire
extinguishers and how they operate. This talk will be made at the beginning of
dress rehearsals for each production sponsored by the department.
Dress rehearsal and
performance period
1. Be aware of cast moral.
2. Notify the cast at the beginning of
dress rehearsal period that they will be totally responsible for keeping
dressing rooms clean. Crew members will not be assigned to clean up dressing
rooms.
3. Supervise all backstage management and
make sure the stage is clean (mop or dust) and the set is ready to go.
4. See that stage is in order before and
after each performance. Make sure that the crew members assigned to clean have
performed that duty before each rehearsal and performance.
5. Conduct a lighting check.
6. Post final scene shift diagrams.
7. Check the sign in sheet at designated
call time and call any late actors.
8. Coordinate with house manager.
9. Give cues
10. Check immediate effect
of cues.
11. Observe/Supervise all
shifts
12. Inspect shifts.
13. Time performances.
14. Time curtain calls.
15. Do not allow visitors
backstage at any time before final curtain!
16. Enforce the smoking and
beverage rule in every case for all members of the company in each production.
17. Keep the company quiet
backstage.
a. One hour to curtain
time, or at a specified time, check in the entire company. A check-in sheet
must be posted at a convenient location backstage.
b. At one half hour to
curtain time, give a "30 minute call". The entire cast, no matter how
late their entrance in the play, should be accounted for at this time, unless
special arrangements have been made beforehand, which are approved by the
director.
c. Backstage lights
are the responsibility of the stage manager. Be sure they are on until
"half-hour" and off thereafter until the curtain is closed, or the
house is clear.
d. Calls should be
"30 minutes," "15 minutes," "5 minutes," and
"places."
e. At stated curtain
time, unless informed otherwise by the director or house manager, give all
necessary cues for starting of play.
f. Call light and
sound cues for performance following established guidelines for giving a
"stand by", Òwarning", and "go".
19. Arrange to have all
dressing rooms unlocked in time for actors to makeup and dress, and lock them
after each rehearsal and performance.
20. Request actors to
change out of costumes immediately after curtain call.
21. Start the performance
and each subsequent act only after receiving a "go" from the house
manager.
1. Check with technical director and
designer for performance of duties pertaining to the strike. Make a list of all
students in for the strike. Check them in and check them out after the strike
is completed. Turn completed strike list in to the Theatre office the Monday
following the strike.
2. The Stage Manager must turn in the
prompt script to the Central office with all blocking and cues written in to
keep a permanent record.
3. When you are finished with your area
report to the Production Manager.
E. STAGE AND BUILDING
CREW HEAD
Planning period
1. Nothing happens without express
permission from the Production Manager.
2. Become thoroughly acquainted with the
play.
3. Obtain a ground plan from the designer.
4. Study the working drawings in
conference with the designer.
5. In conference with the designer,
determine the units to be obtained out of storage and units to be constructed.
6. In conference with the designer, plan
the construction: cutting, assembly, canvassing, and fitting hardware.
7. In conference with the designer,
prepare a time schedule of work: deadline for construction, deadline for moving
of scenery to the stage, deadline for painting.
8. Check with the assistant director for
stage business or movement that may affect the function of scenery.
9. Check with the assistant director as to
the time best to attend rehearsals.
Work period: Building
1. Supervise the work of the building
crew. Familiarize crew with work to be accomplished and caution them to prevent
accidents.
2. Consult with the technical director
about procedures for checking tools in and out. Inform crew members of these
procedures. Do not leave tools overnight in any part of the theatre or out of
the designated storage areas without the specific approval of the Production
Manager.
3. Crew heads must not permit crew members
to use power machines at any time except when approved by a faculty supervisor.
4. Check all finished work against the
plans and specifications to insure accuracy in construction.
5. After each work session, make sure the
crew cleans the shop and returns the tools and materials to their proper
places.
Work period: Setting up
1. Prepare stage for setup of scenery.
Check with technical director as to the rigging and handling of scenery on
stage.
2. Supervise the setting up of scenery.
3. Make all necessary adjustments and
repairs to the set.
Technical/Dress Rehearsals and Performance
1. Work out the routine of scene shifts in consultation with the T.D., stage manager, properties head and director.
2. Assign specific duties to the stage
crew. They will usually take their cues from the stage manager.
3. Rehearse the stage crew in the routine
of shift.
4. Check in to the stage manager at the
designated hour.
5. Check at least one hour before curtain
time that all functional parts of the set are in order. Check doors, windows,
platforms, railings, and make any necessary repairs or adjustments.
6. Keep crew members quiet.
7. Enforce smoking and beverage/food
rules.
Strike
1. At strike of show, take responsibility
for all scenery.
2. Return all scenery and rigging to
appropriate storage. Leave a clean, bare stage with all rigging and materials
stored.
3. Store the scenery as directed by the
T.D.
4. When you are finished with your area
report to the Production Manager.
5. Submit all final paperwork to stage
manager for archive.
F. LIGHT CREW HEAD
Planning period
1. Nothing happens without express
permission from the Production Manager. Become thoroughly acquainted with the
play.
2. In conference with the lighting
designer, prepare a work schedule.
3. Prepare an inventory list.
Work period
1. Prepare area for hang and focus.
2. Assist and supervise the work of the
light crew.
3. Assist the lighting designer in lighting
the show.
4. Check for accuracy of cues that will be
taken by the light board crew and cues that will be given by the stage manager.
Dress rehearsals and
performances
1. Check in to stage manager one hour
before curtain time. Be sure the light board is turned on before each
performance and off after each performance.
2. Before the house is opened to the
public, check all lighting instruments, lamps, special effects, etc., to see
that they are in working order, in proper focus, and that gels are intact.
3. Keep crew members quiet.
4. Enforce smoking and beverage/food
rules.
5. Provide adequate lighting for backstage crew members including, but not limited to, Stage Manager, Assistant Stage Manager, Deck Hands, etc.
Strike
1. At strike of show, return lights to
standard configuration.
2. Return all departmental cable, gels,
etc., to the proper light storage areas.
3. Place instruments in light storage room
as directed by T.D.
4. Clean up and put in order all areas of
the theatre which in any way pertain to lighting the show.
5. When you are finished with your area
report to the Production Manager.
G. SOUND/MUSIC EFFECTS CREW HEAD
(NON-MUSICAL SHOW)
Planning period
1. Nothing happens with out the express
permission of the Production Manager. Become thoroughly acquainted with the
play.
2. Consult with the director on the
treatment of sound and music in the play. Classify as follows:
a. Actual sound.
b. Recorded sound.
c. Actual music.
d. Recorded music.
3. If musicians are to be used, plan
arrangements in consultation with the director.
4. If a conductor is to be used, serve as
contact person between director and conductor as desired by the director.
5. After consultation with the director,
make a complete list of all sound and music effects and decide how they are to
be obtained.
6. In conference with the director and
sound assistant, prepare a sound and music cue sheet.
7. In conference with the director prepare
a time schedule of work including sound
and music rehearsal dates
with the crew and/or cast.
Work period
1. Supervise the work of the sound crew.
2. Before ordering, purchasing, renting or
borrowing recorded or printed material, check material filed or stored in the
office. After this, list needs as follows:
a. Material in department.
b. Material to be
bought.
c. Material to be
ordered by mail.
d. Material to be
rented.
e. Material to be
borrowed.
f. Material to be
constructed.
ALL buying, ordering,
and rental will be handled by the Production Manager Office with all information
sent through the Coordinator of Theater.
3. No music or sound equipment of any kind
is to be borrowed without the permission of the director.
4. Do not consider any effect, recording,
sheet music, or song, etc., as correct until it has been checked by the
director. Judge all borrowing, rentals, construction, etc., accordingly.
5. Check with the stage manager for the
times to attend rehearsals.
6. Whenever possible the crew head should
be the only person to operate the sound equipment. Keep the sound equipment
locked at all times when not in use. [It must always be an authorized person
must use the Stone Theatre equipment.]
7. Make complete and detailed sound and
music cue sheets for all crew members.
8. In consultation with the stage manager,
list placement of sound and music material on and off stage.
9. Obtain for the stage manager any effect
or substitute effect needed for rehearsals.
Dress rehearsals and
performance
1. Be responsible for all sound and music
effects and cues.
2. Check, accurately, cues that will be
taken by the sound crew and cues that will be given by the stage manager.
3. Check in to stage manager one hour
before curtain time.
4. Check at least one hour before curtain
time that all sound and music equipment is in running order.
5. After each performance store all sound
and music equipment in the control booth. Lock the booth or equipment.
6. Keep crew members quiet.
7. Enforce smoking and beverage rules.
Strike
1. All sound and music equipment is the
sound head's responsibility at strike.
2. Return all departmental equipment to
its proper storage place.
3. Return all borrowed equipment the first
weekday following the final performance.
4. Check with the director for the return
of all rented equipment.
5. The audio show tape(s) are given to the
faculty supervisor in a box plainly labeled with the name and date of the show.
6. When you are finished with your area
report to the Production Manager.
H. COSTUME CREW HEAD
Planning Period
1. The planning period will normally start
in advance of casting and will overlap the work period.
2. Become thoroughly acquainted with the
play.
3. In conference with the costume
designer, make a chart showing which actors are in which scenes of the play.
4. Compile a complete list of costume
items demanded by the script or by the director's business. Make certain that
these items are incorporated into dressing lists.
5. Post a list of all calls anticipated
during the construction and performance periods. This list is to be posted prior
to the first crew call. Include the dates of dress parade, dress rehearsals,
and performances in this list.
6. Consult with costumer about procedures
for costumes that must be purchased, borrowed, or rented.
7. In conference with the costumer, plan
the construction of costumes.
8. With costumer, compile dressing lists
(an actor-by-actor list of each article or apparel worn in the show).
Checking in and checking
out costumes
Check out rehearsal
costumes to individual actors as soon as possible in the rehearsal period.
Rehearsal costumes are to be checked back in no later than second dress
rehearsal.
Actors are responsible for
maintaining their own rehearsal costumes.
Work period
1. Post weekly sign-in sheets for crew on
costume call board.
2. Check with the costumer daily for
assignments.
3. Assign the crew members their specific
duties and supervise their work at all times.
4. Secure any rehearsal costumes necessary
and check them in and out as noted above.
5. Arrange for fittings in consultation
with the costumer.
6. Attend rehearsals no later than first
run-through to become familiar with the production.
7. In consultation with the costumer,
check the need for quick costume changes and prepare for such during dress
rehearsals and performance.
8. Spend the last ten minutes of crew
calls cleaning up.
9. Make sure all costumes are put away,
tables cleaned off, and machines closed and turned off.
Dress parade, dress
rehearsals, and performances
1. Post dressing list information
prominently in dressing rooms. Provide a costume plot for each character.
2. In consultation with costumer, assign
dressing rooms to the cast.
3. Assign crew members as dressers to
members of the cast.
4. In consultation with costumer and
assistant director, make arrangements for the dress parade and notify company
members.
5. Dress parade: have all costumes ready
in the dressing rooms before the time the actors are called. It is the
responsibility of the dresser to have all parts of the costume ready and to
assist the cast members to whom they are assigned.
6. During rehearsals and performances,
actors give to dressers lists of needed repairs. Make these repairs before the
next rehearsal. After each rehearsal or performance, check for costumes which
need to be cleaned. And arrange with costumer for cleaning or laundry.
7. Actors are responsible for checking in
with the costume head every item of their costume after rehearsal or
performance. Cooperation on the part of actors is expected and should be
enforced by the stage manager. Any difficulty with an actor should be reported
to the director and the costumer.
8. Check in with stage manager one hour
before curtain time.
9. Check at least one hour before curtain
time that all costumes are ready for use, even if actors bring personal items.
10. Keep crew members
quiet.
11. Enforce smoking and
beverage rules.
Strike
1. At strike of show, all costumes are the
costume head's responsibility. Check with dressing list to make sure all items
are returned.
2. Under supervision of costumer, sort and
list costumes that need to be sent to the cleaners. Arrange to launder the
remaining items.
3. Return all borrowed costumes.
4. Place costumes in storage only under
the direct supervision of costumer.
5. When you are finished with your area
report to the Production Manager.
I. PROPERTY CREW HEAD
Planning Period
1. Nothing happens with out express
permission from the Production Manager. Become thoroughly acquainted with the
play.
2. Make a complete list of properties: set
props, hand props, food props, etc. Check this list with the director, stage
manager/ A.D. and T.D. for completeness and appropriateness.
3. Check prop storage for suitable props.
4. Set deadline for purchasing and
building props in conference with the Designer. See that these deadlines are
met.
5. No property valued at over $10.00 is to
be borrowed outside the department without the permission of the designer.
6. Make a careful list of such properties
as needed to be replenished during rehearsals and performances such as
cigarettes, food, etc. Prop crew head is responsible for keeping expenditures
to a minimum.
7. Make a detailed budget for purchase of
properties. Make no purchases without the permission of the designer.
Purchasing should be handled through the Theatre office.
Checking in and checking
out hand props
Prop crew head must keep
accurate records of all props checked out other than during rehearsal or
performance. Report any abuse of props to the designer or director.
Work period
1. At request of director, secure any
essential properties or substitutes that are necessary in rehearsal.
2. Assign prop crew members a specific
number of props to secure or construct with a description of each property.
3. Check with T.D. for use of the shop when
construction of props is necessary.
4. Check with assistant director for
appropriate time to attend rehearsals.
5. With stage manager, list props and
characters handling these in each scene.
Technical rehearsal
1. With stage manager, work out routine of
prop shifts.
2. Make the varied props lists: which crew
member is responsible for placing properties during rehearsal and performances;
what props are stored S.R. and S.L.; and a specific diagram for placement of
props on and off stage for each scene.
Dress rehearsals and
performances
1. Check in to stage manager one hour
before curtain time.
2. Check one hour before curtain time for
breakage, damage, or loss of props.
3. Have all props in place before time to
open the house. USE A CHECK LIST.
4. See that all properties are clean, in
order, and returned to their places on the prop table following rehearsals and
performances.
5. Keep crew members quiet.
6. Enforce smoking and beverage rules.
Strike
1. Take responsibility for all props at
strike.
2. Return all props to be stored to
appropriate storage rooms.
3. Return all borrowed props following
strike.
4. Strike is not finished until all
borrowed props have been returned and all department props have been stored in
an orderly manner.
5. When you are finished with your area
report to the Production Manager.
J. PUBLICITY MANAGER
Work period
1. Nothing is done without the express
permission of the Coordinator of Theatre.
Create the required advertising or promotion campaign for each production.
Must secure the approval by Coordinator of Theatre BEFORE anything is printed
or mailed.
3. Arrange special advertising in print
and broadcast media, including news releases and special promotions.
3. Oversee and collect publicity forms
from company personnel.
4. Develop appropriate lobby display with
Director of Theatre and production director.
5. With house and box office managers,
create appropriate central office staffing for box office prior to opening of
the production.
Strike
1. Help front of house strike.
2. Secure list of one-time ticket buyers
for the production and add their names and addresses to the general audience
mailing list.
3. When you are finished with your area
report to the Production Manager.
K. HOUSE MANAGER
Work period
1. Hold complete charge of front-of-house
activities.
2. Ensure theatre cleanliness prior to
each performance.
3. Secure appropriate number of ushers.
4. Ensure proper attire of front-of-house
personnel.
5. Keep house closed until 30 minutes
prior to performance, or until the stage manager gives you a clear.
6. Attend final dress rehearsal to learn
intermission, act time, and other data.
7. Insure prompt, friendly
"people-services" for the audience.
8. Arrange a time for ushers to
familiarize themselves with their duties.
9. Insure all materials are in place and
working.